ii V I and iv ii V I chords!

Discussion in 'Tab, Tips, Theory and Technique' started by upinthemteles, Apr 3, 2014.

  1. upinthemteles

    upinthemteles Tele-Meister

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    Hey guys, I've been working on finding different voicings for both the 2 5 1 and 6 2 5 1. I figured I'd share some and see if you guys have some cool voicings too. All my examples will be in C.

    ii V I
    xx3553
    xx3454
    xx2233

    xx7768
    xx5667
    xx4555

    x x 10 10 10 10
    x x 9 10 9 10 (move this around in minor thirds if you desire)
    x x 9 9 7 8

    VI ii V I (this is a Ron Eschete thing all using the same chord shape, very cool)
    xx5422
    xx8755
    x x 11 10 8 8
    x x 10 9 7 7

    I tried to come up with my own 6 2 5 1 using one voicing,
    xx2435
    xx5768
    x x 7 9 8 10
    x x 9 11 10 12



    Looking forward to seeing some of yours
     
  2. klasaine

    klasaine Poster Extraordinaire

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    I really like 'yours'.

    I'll do this parallel (constant structure) a lot for a ii V I ...
    X55565 (Dm11)
    X88898 (Fm11 subs for G13)
    X 12 12 12 13 12 (Am11 subs for Cmaj7)

    Here's some personal faves in minor ...

    [​IMG]
     
  3. slowpinky

    slowpinky Tele-Afflicted

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    Some great voicings there..

    I've been messing with this shape with some students - all ala Jim Hall

    x 4 5 5 4 x

    x 9 10 10 9 x

    x 8 9 9 8 x or x 2 3 3 2 x

    x 3 4 4 3 x ( or x 1 2 2 1 x)
     
  4. BigDaddyLH

    BigDaddyLH Telefied Ad Free Member

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    I'll extend that and add a III on the front. I'll also include the chord names:
    x77787: Em11
    x67678: Eb13#11
    x55565: Dm11
    x43453: G13#11
    x32442: B|C -- my Bill Evans final chord
     
  5. upinthemteles

    upinthemteles Tele-Meister

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    Awesome everyone

    Klasaine, I'm familiar with that idea, I use it for single note playing usually, playing a Dmin7 arpeggio to a Fmin7 arpeggio and sliding into the E for the Cmaj7. I like using the Amin11 there for the C. I also need to work on my minor 6 2 5 1s. Your picture brings up something I'm kind of confused about, You use Dmin7b5 for the 6th of F minor. Are you thinking melodic minor harmony here? Because the 6th of harmonic minor or natural minor would be flatted. When people say a minor 1 6 2 5, is it typically a normal 6?

    Slowpinky, very nice, I use the shape x 8 9 9 10 x for a dominant chord (G) a lot,

    And BigDaddy, that ending chord is great, going to get that into my playing.
     
  6. klasaine

    klasaine Poster Extraordinaire

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    Yeah, melodic or dorian minor.
    You'll see natural vi minor a lot in jazz tunes. Gigi Gryce's 'Minority' Is a great example ... http://www.realbooksite.com/songs/real-book-volume-1-page-295.php

    In jazz and pop, minor key harmony can and will be all over the place. Subbing all the potential dom chords (leading tones) from the major scale resulting in mel min and harm min harmony. The more modern jazzers will also 'borrow' chords from aeolian, phrygian, dorian and sometimes locrian (modal interchange).
     
    Last edited: Apr 3, 2014
  7. stinkey

    stinkey Tele-Afflicted

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    I love all this voicing thing. It's whats really makes the guitar sing!! You just can't know too many ways to play the same chord.
     
  8. BigDaddyLH

    BigDaddyLH Telefied Ad Free Member

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    Here's that Ron Eschete parallel motion again:

    x45452: A13
    x56563: Dm11b5
    x89896: GAlt
    x9.10.9.10.7: CMaj7#11 (leave off the F# for a more stable finish)

    What is cool is that the same grip is used in four different ways and it gets to slide up one fret twice.
     
  9. upinthemteles

    upinthemteles Tele-Meister

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    Haha, I think I need to leave off the note on the A string for all of those, that is tough to finger.

    Here is what I think is a natural minor 6 2 5 1.

    xx6787
    xx6768
    xx5668
    xx5566

    Although the A chord has the major 7th of C in it, but that's okay right? Could change the B to a Bb, but I like the chord better with the B.
     
  10. BigDaddyLH

    BigDaddyLH Telefied Ad Free Member

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    I've always loved adding a #11 to a major chord. Just because! Here's a voicing that lets it rub against the 5 -- sounds like Allan Holdsworth to me:

    GMaj7#11: 3x4637

    Sounds great arpeggiated.

    Adding the b6 makes a major chord sound dark and brooding. Everyone seems to use this voicing:

    CMaj7b6: x36453
     
  11. upinthemteles

    upinthemteles Tele-Meister

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    I was just looking at this really confused thinking that by natural vi minor you meant the natural minor, the b6. But you mean natural vi as in the 6. I figure that must be what you meant because they use the normal 6, or natural 6 as you said? Besides the descending ii Vs of course.
     
  12. klasaine

    klasaine Poster Extraordinaire

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    Correct.
    Just to be super clear: D natural in the key of Fm ... F G Ab Bb C D Eb (or E for mel min).
     
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